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A stylised vintage poster in a 1968 screen-printed aesthetic, showing a silhouetted military helicopter flying above a skyline at sunset. The scene includes a palm tree, a domed Middle Eastern-style structure, and a rooftop with an antenna, all rendered in bold black against an orange background with a beige border.

Evacuation as Pretext, Escalation as Policy

Trump’s second term marries ICE raids at home with a war machine primed abroad, and Iran, once again, plays the designated enemy.

A stylised, square-format illustration of the FIFA Club World Cup trophy in golden tones, positioned prominently in the background. In front of it sit three burlap sacks overflowing with gold coins, one marked with a large dollar sign. The backdrop is a warm, textured orange, evoking a vintage poster aesthetic and symbolising the commercialisation of football.

The Club World Cup and the Triumph of Capital over Competition

The Club World Cup is not a celebration of football, but a monument to its financial capture—driven by Saudi money, Trump’s authoritarian theatre, and a FIFA leadership that serves capital before fans.

A chalk or pastel-style painting shows three pub patrons sitting at a bar, watching a televised broadcast of a parliamentary debate. On the TV screen, a female politician stands at the despatch box in the House of Commons, addressing MPs seated on green benches. The pub interior is warmly lit with wooden paneling, beer taps, and pints on the bar, contrasting with the cooler tones of the televised political scene.

The Illusion of Renewal

Rachel Reeves’s Spending Review and the Political Economy of Placation

A grainy black-and-white newspaper-style image shows Donald Trump speaking at a podium bearing the Presidential Seal, wearing a dark suit and a military-style cap. Behind him, rows of uniformed soldiers in berets stand in formation, their faces slightly blurred, evoking a vintage wartime press photo.

The Lie Is the Point – Why Trump and His Administration Always Deny What They Just Said

Trump doesn’t lie to persuade—he lies to dominate, using contradiction as a weapon to break truth itself.

Book cover of "Murderland: Crime and Bloodlust in the Time of Serial Killers" by Caroline Fraser. The design features a monochrome photo of a man's face—partially obscured—with a superimposed industrial landscape and plume of smoke, blending the imagery of a serial killer with a polluted, foreboding environment. The title is in bold yellow text at the top, and the author's name appears at the bottom in yellow, noting her as the Pulitzer Prize-winning author of "Prairie Fires".

The Crazy Wall

Caroline Fraser’s Murderland dismantles the voyeurism of true crime by tracing serial murder not to aberrant monsters but to the poisoned infrastructures, institutional apathy, and cultural amnesia that made their violence possible.

Russia 2050: The Empire Strikes Again (With Help from the West’s Useful Idiots)

A bureaucratic blueprint for empire cloaked in civilisational jargon, Russia 2050 lays out a revanchist plan for domination—one now legitimised by Western contrarians too busy opposing the West to see they’re cheering on its mirror image.

A group of protesters march down a city street holding trans pride flags and placards. At the centre, a person holds a large sign reading: “THE THREAT OF TRANS PEOPLE IS A STATISTICAL ANOMALY! FACT: EHRC WANTS TO HUMILIATE TRANS PEOPLE. SUPREME COURT RULING DID NOT HEAR FROM ONE TRANS PERSON.” The crowd includes people of various ages and genders, with police officers visible to the left and Union Jack flags hanging in the background. The mood is serious but determined.

Correctional Politics and the Cruelty of Clarity

Trans people are not confused. They are not misled. They have not been lied to. They are responding, with dignity and resistance, to a sustained campaign of dehumanisation, spearheaded by a cross-section of legal hardliners, culture warriors, so called feminists, and opportunists.